“Seth material” search engine (Jane Roberts)

(It came about because of several factors I’ll try to list in at least rough chronological order. The first of these would be Jane’s nearly extreme physical changes over the past few months, her ups and downs as far as mobility, feelings, aches, restless sleep, etc., are concerned. Seth has said again and again that these changes represent improvements growing out of our better understanding of our beliefs, our artistic/creative work, and indeed our whole life-style. We have tried to go along with his pronouncements, but also have felt numerous misgivings, as may be quite natural.

(As soon as I reread her paper the evening before last, I was reminded of the two excerpts I’d copied from recent deleted sessions—those for January 26 and 28, 1981. In them Seth briefly explained how Jane had created her symptoms as protection against the spontaneous self going too far: this fear was the real reason for the symptoms—not, as we usually thought, her fear that she would do other things besides work if she had normal mobility. The latter idea is a cover-up for the previous one. To Jane, going too far means that she would find herself in an unsafe position in the world. And to me, as I began to put all of this together, it meant that although she did the Seth books, which we think so highly of, she also drags her feet in resistance with each one—hence the long intervals of non-work that crop up during the production of each one. Again, without checking, I think that an examination of our records would show that her symptoms flared up, indeed worsened, as she worked on each Seth book, and that behind her labors on each book there lay this fear that she was going too far with each one she produced. This fear may be based on outmoded ideas—as Seth has mentioned at various times—it may make no sense, or whatever, yet as long as it exists it must be dealt with. This present session represents, then, our latest attempt to come to terms with all of our personal, public, and creative aspects involved with the Seth material—not just those we’d chosen to deal with in past years.

There is some difference, of course, in Ruburt’s mind between his attitude toward his books and mine. To some extent this is more than understandable. He would (pause), had I not emerged, written books of his own in any case. He would have encountered no unusual obstacles as far as his public stance was concerned, in that he would have felt the rather characteristic dilemma of some creative writers, who must assimilate the private and public portions of their experiences. He would have had no unusual difficulty, however, in say, standing up for his own ideas—holding his own, so to speak, in any arguments or philosophies.

To some extent he lacks the kind of faith in people that I have, because of the belief systems that surround you. It bothers him that some people, he thinks, consider that our books make up another bible or its equivalent, and it seems to him that their lack of understanding in that regard hampers his own creativity.

His attitude can hamper his creativity. Theirs, of course, cannot.

Give us a moment.... the books themselves—mine as well as his—are themselves indications of achievements (pause) that are not easily broken off, since they represent the natural, creative development of his own abilities and growth. They also provide, if you realize it, the solutions to your dilemmas, as I hope you shall shortly see. That is, they provide you with that larger framework of understanding, for the old frameworks of understanding force you to continue to explore your reality for larger definitions. In those areas of concern, then, Ruburt is still involved with too-small definitions.

(10:15 PM. Jane came out of trance very heavy-lidded. Then: “I guess it’s me —but write this down, if I can get it quickly enough—about creativity and dogma. I think it’s in relation to my book dictation.”